Laureate Series • Organ

Mari Fukumoto First Prize, 7th International Organ Competition Musashino-Tokyo

ORGAN RECITAL: BRUHNS • RADULESCU DE GRIGNY • BACH • BUXTEHUDE • MESSIAEN Mari Fukumoto: Organ Recital Bruhns • Radulescu • de Grigny • J.S. Bach • Buxtehude • Messiaen

Nicolaus Bruhns belonged to a family of organists working his widow. This includes a Mass and four hymns for the marriage to Samuel Franck, Cantor of the Marienkirche and fugue, piano accompaniment, music history, organ in Schleswig-Holstein in the seventeenth century. Born in principal feast days of the church year. The present recital and the choir-school that provided singers for the services and improvisation, and composition. A medical auxiliary Schwabstedt, near Husum, in 1665, he was sent by his includes two of the five movements based on the Veni of the Marienkirche. As an organist Buxtehude during the early years of World War II, he was captured in father to stay with his uncle, Peter Bruhns, in Lübeck, Creator Spiritus. The five-voice Fugue forms the second represented the height of North German keyboard May 1940 and spent the next year in a German prison where he studied with Buxtehude, and acquired skill also part of the work, its contrapuntal writing enlivened by the traditions, exercising a decisive influence over the camp. Upon his release in 1941, he was appointed as a violinist and gamba player. He spent a period in use of French notes inégales. The fifth movement is the following generation, notably on Johann Sebastian Bach, professor of harmony at the Paris Conservatoire, a Copenhagen, before winning appointment as organist at Dialogue sur les grands jeux. The Premier Livre d’Orgue who undertook the long journey from Arnstadt to Lübeck position through which he exerted an important influence the Stadtkirche in Husum, where he was persuaded to of de Grigny represents a height of contemporary musical to hear him play, outstaying his leave, to the on many of the most important composers of the mid- remain by the award of a higher salary, when it seemed achievement, exercising an influence on J.S. Bach, who dissatisfaction of his employers. Handel too visited twentieth-century. Messiaen’s strong Roman Catholic possible he might move to Kiel. A versatile musician, he is copied out the work for his own study. Lübeck in 1703, with his Hamburg friend and colleague convictions and interest in mysticism set him apart from said to have accompanied himself on the pedals of the In 1723 Johann Sebastian Bach left what had, before Mattheson. By this time there was a question of many of his contemporaries and help to explain his deep organ, while playing the violin. His surviving music his patron’s marriage, been an agreeable position as appointing a successor to Buxtehude, who was nearly and abiding interest in the organ. His organ works includes four preludes and fugues. Of these the larger Court Kapellmeister to Prince Leopold of Anhalt-Cöthen seventy and had spent over thirty years at the represent a vital component of his output, and a corner- scale Prelude in E minor, one of two in this key, follows a to take up less privileged employment as Cantor at the St Marienkirche. The condition of marriage to his stone of modern repertoire for the instrument. Messiaen pattern familiar from Buxtehude. An opening prelude Thomas Choir School in Leipzig, subject now to the civic predecessor’s daughter that Buxtehude had faithfully first encountered the organ shortly before enrolling in leads to a four-voice fugue, a quasi-improvisatory section, authorities. His earliest years in Leipzig, where he was to fulfilled proved unattractive, however, to the young Dupré’s organ class, and his affinity for the instrument’s a second fugue, in 12/8, and a final toccata. remain until his death in 1750, were spent partly in the musicians of the newer generation and the succession nearly inexhaustible palette of tone colour was To this the work of Michael Radulescu provides a composition of cycles of cantatas for the Lutheran church eventually passed to Johann Christian Schieferdecker, immediately apparent. In 1931 he was appointed organist marked contrast. The son of a Romanian father and a year and in a continuing series of works for organ and for who married Buxtehude’s surviving daughter, at the Église de la Sainte-Trinité in Paris, a post he German mother, Radulescu was born in 1943 and studied harpsichord. Some of these latter were designed for his predeceased by four others, three months after retained for over sixty years. His Messe de la Pentecôte in Vienna at the University of Music and Performing Arts, pupils, and in particular for his eldest son, Wilhelm Buxtehude’s death in 1707. The Lutheran hymn or (Mass for Pentecost) was written in 1949-1950, based, where he has subsequently taught. His career has Friedemann, for whom his set of six organ Trio Sonatas, chorale had a central part in church repertoire. The according to the composer, on earlier years of brought him distinction as a composer, organist and dating from about 1727, provided a subject of study. The chorale fantasia Gelobet seist du, Jesu Christ, BuxWV improvisation. The fourth of the five movements, conductor. Estampie, the third part of his Ricercari of sonatas are for two manuals and pedals, each with its 188, (Praised be Thou, Jesus Christ), allows scope for a Communion (Les oiseaux et les sources), with its 1984, reflects varied influences, not least those of own melodic lines, similar, therefore, in texture to other dramatic use of organ registration. In four sections, with a fragments of bird-song reflecting a dominant strand in Messiaen and Carl Orff, the formner in textures and the sonatas by Bach. The Trio Sonata No. 2 in C minor starts coda, it starts with a fugal treatment of the opening notes Messiaen’s work, is characteristic of his musical language latter in repetitive rhythmic and melodic patterns. The with a Vivace in concerto form, followed by a Largo and a of the chorale, and the following sections continue to and exploration of musical timbres. movement titles, Organa, Versus and Estampie, echo final contrapuntal Allegro. develop the material. The fourth section is in gigue Bach’s Prelude and Fugue in E minor, BWV 548, was Radulescu’s historical interests, with the Estampie, a Dietrich Buxtehude, who identified himself as Danish, rhythm, leading to the last part of the work with its written in Leipzig between 1727 and 1732. The extended troubadour dance form in origin, surviving notably in the was seemingly born in Helsingborg about the year 1637, concluding sustained pedal notes strengthening the final Prelude and the Fugue, known as ‘the Wedge’ because of English medieval Robertsbridge Codex. the son of an organist and schoolmaster. He was taught bars. the expanding series of intervals that form its subject, Like Nicolaus Bruhns, Nicolas de Grigny belonged to by his father and from 1657 or 1658 until 1660 was A prodigiously gifted musician from his earliest youth, creating the shape of a wedge, are works calling for a family of organists and lived a short life. He was born in organist at the Mariekirke in Helsingborg, and then at the Olivier Messiaen was one of the most idiosyncratic considerable virtuosity, displaying to Leipzig Rheims in 1672, spent some time in Paris, where he had Mariekirke in Helsingør. In 1668 he was elected organist composers of the twentieth century, one whose intensely contemporaries Bach’s own genius as a performer and as lessons with Nicolas Lebègue and married, and returned at the Marienkirche in Lübeck, where he succeeded Franz personal compositional language defies classification into a composer. The elaborate ritornello structure of the to Rheims as organist at the Cathedral of Notre Dame. As Tunder, who had died the previous year, following custom any generalised stylistic trend. He studied at the Paris Prelude is balanced by the following Fugue, its progress a composer he published one collection of organ pieces, by marrying Tunder’s younger daughter. Tunder’s elder Conservatoire, where his teachers included Widor, Dukas allowing the inroduction of contrasting episodes. his Premier Livre d’Orgue of 1699, re-issued in 1711 by daughter’s security had already been assured by her and Marcel Dupré. By the time he left the Conservatoire in 1931, Messiaen had achieved first prize in counterpoint Keith Anderson Musashino Civic Cultural Hall, Recital Hall Mari Fukumoto (Musashino Shimin Bunka Kaikan) Mari Fukumoto was born in Tokyo in 1987 and graduated from Tokyo University of the Arts in 2009 with several awards. 3-9-11 Naka-cho, Musashino-City, Tokyo 180-0006 JAPAN - Tel +81 (0)422 54 8822 / Fax +81 (0)422 54 2014 She studied organ with Tsuguo Hirono and Yuichiro Shiina and harpsichord with Naoya Otsuka and Masaaki Suzuki, and e-mail: [email protected] entered the graduate school of Tokyo University of the Arts. She was invited to the Rising Star Concert organised by the Marcussen & Søn, 1984 Japan Association of Organists and continued to study at the graduate school until 2011 when, thanks to a two-year scholarship from the DAAD (Deutscher Akademischer Austauschdienst) and a scholarship from the Rotary-Förderpreis der I-II, III-II, III-I, I-P, II-P, III-P Otto Stöterau Stiftung, she moved to the graduate school at the Hochschule für Musik und Theater Hamburg, where she I. Brystværk C-g3 III. Swellvark C-g3 Mechanical key action completed her thesis on early music with Wolfgang Zerer, achieving the highest marks. Mari Fukumoto has won first prize (schwellbar) Mechanical and electric stop action at prestigious international organ competitions including the 7th International Organ Competition Musashino-Tokyo, Japan Rørfløjte 8’ Expression pedals for BV and SV (2012), the first Japanese person to do so, and the Johann Pachelbel Prize at the 62nd Nuremberg International Organ Gedakt 8’ Gamba 8’ 1000 x 4 general combinations Week (2013). Her performances have been broadcast by Norddeutscher Rundfunk and Bayerischer Rundfunk among Quintatøn 8’ Vox Celeste 8’ Step pistons others. From Renaissance to contemporary music, she has a wide repertoire and gives many concerts in Europe as well Principal 4’ Principal 4’ Crescendo pedal as Japan. She is currently studying for the Concert Exam in Hamburg. Kobbelfløjte 4’ Traversfløjte 4’ Tutti, Mixtur ab, Zungen ab www.fukumotomari.com Gemshorn 2’ Nasat 2 2/3’ a1=442Hz Sesquialtera II Waldfløjte 2’ Quint 1 1/3’ Terts 1 3/5’ Scharf III Mixtur IV Dulcian 8’ Fagot 16’ Obo 8’ Tremulant Vox humana 8’

Tremulant II. Hovedværk C-g3

Gedacktpommer 16’ Pedal C-f1 Principal 8’ Hulfløjte 8’ Principal 16’ Gedackt 8’ Subbas 16’ Oktav 4’ Oktav 8’ Spidsfløjte 4’ Gedakt 8’ Octav 2’ Oktav 4’ Cornet III Nathorn 2’ 7th International Organ Competition Musashino-Tokyo Mixtur V Rauschquint V (Member of the World Federation of International Music Competitions) Trompet 8’ Basun 16’ 21st to 30th September, 2012 Trompet 8’ Jury: Bernard Foccroulle (chair), Thierry Escaich, Arvid Gast, Rie Hiroe, Pier Damiano Peretti Skalmeje 4’ www.musashino-culture.or.jp/iocm

Japanese organist Mari Fukumoto has won First Prize at two of the world’s leading competitions, the 7th International Organ Competition, Musashino-Tokyo, and the International Organ Competition of the 62nd Organ Week in Nuremberg. She has also broadcast extensively on German radio. Her wide-ranging programme explores the connections between the works of Bruhns and Buxtehude, J.S. Bach and Grigny, and those of Messiaen and the contemporary Romanian-German composer Michael Radulescu. MARI FUKUMOTO Organ Recital 1 Nicolaus Bruhns (1665-1697): Prelude in E minor 9:55 2 Michael Radulescu (b. 1943): Ricercari, Op. 28: III. Estampie 4:52 Nicolas de Grigny (1672-1703): Premier livre d’orgue: Veni Creator Spiritus 5:57 3 II. Fugue à 5 2:22 4 V. Dialogue sur les grands jeux 3:35 Johann Sebastian Bach (1685-1750): Trio Sonata No. 2 in C minor, BWV 526 11:52 5 I. Vivace 3:50 6 II. Largo 4:02 7 III. Allegro 4:00 8 Dietrich Buxtehude (ca. 1637-1707): Gelobet seist du, Jesu Christ, BuxWV 188 9:31 9 Olivier Messiaen (1908-1992): Messe de la Pentecôte: IV. Communion (Les oiseaux et les sources) 6:00 J.S. Bach: Prelude and Fugue in E minor, BWV 548 15:04 0 Prelude 7:07 ! Fugue 7:57

This recording was made possible thanks to generous support from Musashino City and The Musashino Cultural Foundation Recorded at Musashino Civic Cultural Hall, Tokyo, Japan, on 1st and 2nd October, 2012 • Producer: International Organ Competition Musashino-Tokyo Engineering and editing: Yasuhisa Takashima and Taiki Kubota (Camerata Tokyo, Inc.) Publishers: Doblinger (track 2); Editions Alphonse Leduc (track 9) • Booklet notes: Keith Anderson Cover photograph: Patrick Wamsganz • Organ by Marcussen & Søn, Denmark, 1984